Figures
1 Modern and avant-garde art exhibitions in Europe since 1874 21
2 Gustave Courbet (1819–1877), The Artist’s Studio: A Real Allegory of a Seven Year Phase in my Artistic and Moral Life, 1855. Oil on canvas, 359 cm × 598 cm. Musée d’Orsay, Paris 28
3 Bertall (1820–1882), “Promenade au Salon de 1864”, Journal amusant: journal illustré, journal d’images, journal comique, critique, satirique, etc., 21 May 1864, p. 4 45
4 James McNeill Whistler (1834–1903), The Artist in His Studio, 1865–66. Oil on paper mounted on panel, 62 × 46.5 cm. Chicago, Art Institute 58
5 Armand Guillaumin (1841–1927), Chemin creux, effet de neige [Hollow path, snow effect], 1869. Oil on canvas, 66 × 55 cm. Paris, musée d’Orsay (don Paul Gachet, 1954) 69
6 Places in Paris painted by Claude Monet 75
7 Paul Cézanne (1839–1906), Une moderne Olympia, 1873–74. Oil on canvas, 46 × 55.5 cm. Paris, musée d’Orsay 96
8 Max Klinger (1857–1920), Ludwig van Beethoven. Monument exhibited at the Wiener Secession, Vienna, 1902, Postcard, Verlag E.A. Seemann, Leipzig 118
9 The illustrated dissemination of a painting by Max Liebermann (original work: Max Liebermann (1847–1935), Altmännerhaus in Amsterdam, 1881. Oil on wood, 55.3 × 75.2 cm, Schweinfurt, Museum Georg Schäfer, Schweinfurth). Corpus of journals and computational matching: Visual Contagions, dir. Béatrice Joyeux-Prunel, University of Geneva, 2025 126
10 “Die Berliner Kunst-Salons”. Lustige Blätter: schönstes buntes Witzblatt Deutschlands 12 (1899), p. 5 129
11 Georges Seurat (1859–1891), Un dimanche après-midi à l’île de la Grande Jatte (A Sunday Afternoon on the Island of La Grande Jatte), 1884. Oil on canvas, 207.5 × 308.1 cm. Chicago, Art Institute 139
12 Paul Gauguin (1848–1903), Vision of the Sermon (Jacob Wrestling with the Angel), 1888. Oil on canvas, 72.20 × 91.00 cm. Edinburgh, National Galleries of Scotland 147
13 Odilon Redon (1840–1916), “Le commandement sinistre du Spectre : ‘Il faut que tu te tues !’ est accompli. Le rêve s’est achevé par la mort”. Engraved illustration for Le Juré: monodrame en 5 actes by Edmond Picard (Brussels, Veuve Monnom: 1887). Bibliothèque nationale de France, département Réserve des livres rares 164
14 Jan Toorop (1858–1928), La Jeune Génération [The New Generation], 1892. Oil on canvas, 965 × 1100 cm. Rotterdam, Museum Boijmans Van Beuningen 184
15 Edvard Munch (1863–1944), Døden i sykeværelset [Death in the Sickroom], 1893. Tempera and oil pastel on canvas, 152.5 w 169.5 cm. Oslo, Nasjonagalleriet 192
16 Henri-Edmond Cross (1856–1910), L’Air du Soir [Evening Air], 1894. Oil on canvas, 116 × 166 cm. Paris, musée d’Orsay 199
17 Dominants and subordinates in the international field of modern art, circa 1900. Network analysis of important and selective modern European Salons: artists’ exhibition frequencies 224
18 Kees Van Dongen (1877–1968), Petite histoire pour petits et grands enfants, published in L’Assiette au Beurre, 26 Octobre 1901. Bibliothèque nationale de France, Paris 227
19 Henri Matisse (1869–1954), La Joie de vivre [Joy of Life], 1905–06. Oil on canvas, 175 × 241 cm. Philadelphia, Barnes Foundation 240
20 Wassily Kandinsky (1866–1944), Riding Couple, 1907. Oil on canvas, 55 × 50.5 cm. Städtische Galerie im Lenbachhaus, Munich 245
21 Max Beckmann (1884–1950), Junge Männer am Meer [Young Men by the Sea], 1905. Oil on canvas, 148 × 235 cm. Stiftung Weimarer Klassik, Weimar 246
22 Max Pechstein (1881–1955), Freilicht [Open Air], 1910. Oil on canvas, 54.3 × 47 cm. Duisbourg, Wilhelm-Lehmbruck-Museum 250
23 Kees Van Dongen (1877–1968), Femme au Grand Chapeau [Woman with Big Hat], 1906. Oil on canvas, 100 × 81 cm. Paris, Collection Charles Tabachnik 259
24 Parisian addresses of the artists exhibiting at the Salon d’Automne, Paris 272
25 The internationalization of futurism 289
26 Carlo Carrà (1881–1966), Funeral of the Anarchist Galli, 1910–11. Oil on canvas, 198.7 × 259.1 cm. The Museum of Modern Art, New York 294
27 Bohumil Kubišta (1884–1918), Svatý Šebestián [Saint Sebastian], 1912. Oil on canvas, 98 × 75 cm. Prague, Národní Galeri 323
28 Wassily Kandinsky (1866–1944), Sketch for “Composition II” (Skizze für “Komposition I”), 1909–10. Oil on canvas, 97.5 × 131.1 cm. New York, Solomon R. Guggenheim Museum 330
29 Roger Fry (1866–1934), A Room at the Second Post-Impressionist Exhibition, 1912. Oil on wood, 50.5 × 60.5 cm. Paris, musée d’Orsay 359
30 Natalia Goncharova (1881–1962), Les Lutteurs [Wrestlers], 1909–10. Oil on canvas, 118 × 103 cm. Paris, Centre Pompidou – Musée national d’art moderne 366
31 Natalia Goncharova (1881–1962), Rayonism, Blue-Green Forest, 1913 (dated on reverse 1911). Oil on canvas, 54.6 × 49.5 cm. New York, the Museum of Modern Art 369
32 Pablo Picasso (1881–1973), Bouteille, journal et verre sur une table, 1912. Charcoal, gouache, and collaged papers on paper, 62 × 48 cm. Paris, Centre Pompidou, Musée national d’art moderne 376
33 Umberto Boccioni (1882–1916), Forme uniche della continuità nello spazio [Unique Forms of Continuity in Space], 1913. Bronze, 111.10 × 88.5 × 30 cm. Museo Civico d’Arte Contemporanea, Milan 378
34 Pablo Picasso (1881–1973), Nature morte à la chaise cannée [Still Life with Chair Caning], 1912. Oil and waxed canvas on canvas, 29 × 37 cm. Paris, musée national Picasso 381
35 International dispersion of the avant-gardes during World War I 390
36 Gino Severini (1883–1966), The War, 1914. Oil on canvas, 60 × 50 cm. Pinakothek der Moderne, Sammlung Moderne Kunst, Munich 402
37 Modern art galleries in Paris, 1917 416
38 Ernst Ludwig Kirchner (1880–1938), Selbstbildnis als Soldat [Self-Portrait as a Soldier], 1915. Oil on canvas, 69 cm × 61 cm. Oberlin (Ohio), Allen Memorial Art Museum 443
39 Ernst Ludwig Kirchner (1880–1938), Der Trinker (Selbstbildnis) [Self-portrait as a Drinker], 1915. Oil on canvas, 119.5 × 90.5 cm. Nuremberg, Germanisches Nationalmuseum 444
40 Ernst Ludwig Kirchner (1880–1938), Selbstbildnis als Kranker [Self-Portrait as a Sick Man], 1918. Oil on canvas, 59 × 69.3 cm. Munich, Pinakothek der Moderne 445
41 George Grosz (1893–1959), Der Liebeskranke [The Lovesick], 1916. Oil on canvas, 99.7 × 76.5 cm. Düsseldorf, Kunstsammlung Nordrhein-Westfalen 449
42 George Grosz (1893–1959), Suicide, 1916. Oil on canvas, 100 × 77.5 cm. London, Tate Collection 450
43 Der Dada, no. 3. Cover. Photomontage by John Heartfield (Helmut Herzfeld, 1891–1968), 1919–20. Berlin, Malik Verlag. Berlin, Staatsbibliothek zu Berlin, Handschriftenabteilung 468
44 George Grosz (1893–1959), Ich dien (Feierabend) [I served (Quitting Time)], from the portfolio Gott mi tuns (God with Us), 1919, published 1920. Lithography, 38.7 × 29.8 cm. New York, Museum of Modern Art 471
45 Otto Dix (1891–1969), Die Skatspieler (Skat Players), 1920. Oil and collage on canvas, 110 × 87 cm. Berlin, Neue Nationalgalerie 473
46 Marcel Duchamp (1887–1968), Nine malic moulds [Neuf Moules Mâlic], 1914–1915. Glass, lead, oil paint, varnished steel, 66 × 101.2 cm. Paris, Centre Georges Pompidou, Musée national d’art moderne 477
47 The Blind Man, No. 2, New York, 1917. “The Exhibit Refused by the Independents” (Marcel Duchamp, Fountain, 1917, photograph by Alfred Stieglitz. In the background, The Warriors by Marsden Hartley) 492
48 Hans Arp (1886–1966), La mise au tombeau des oiseaux et papillons (Portrait de Tzara) [The Entombment of the Birds and Butterflies: Head of Tzara], 1916–17. Painted wooden relief, 40 × 32.5 × 9.5 cm. Kunsthaus, Zurich 505
Tables
1 The dominants in the international field of modern art around 1900 111